This excerpt from a Christian Lindberg video master class where he discusses why he doesn’t practice mouthpiece buzzing. It’s caused quit a “buzz” online, since he goes against what is traditionally taught.
The gist of Lindberg’s argument is that getting a resonant buzz on the mouthpiece and a resonant tone on the trombone really require different things and when you practice a good mouthpiece buzz you’re actually practicing a poor trombone sound. Now I’m skeptical of Lindberg’s demonstration, since how we think we are playing doesn’t always reflect what we’re actually doing. That said, I think the point he makes is valid.
But this doesn’t necessarily mean that mouthpiece buzzing, done a certain way and with appropriate moderation, doesn’t help. I generally don’t practice mouthpiece buzzing a whole lot anymore myself, but find myself going to it while teaching lessons frequently. I will usually have my student play a passage on the instrument, then take out the mouthpiece and buzz the same passage. When buzzing, I instruct the student to only tongue the initial attacks after a breath and let the air and embouchure change all other pitches. Repeated notes, say four quarter notes of the same pitch, will be buzzed as one long note, one whole note in my example. Following the mouthpiece buzzing I ask the student to immediately put the mouthpiece back into the instrument and play again.
The results are usually instantaneous. It seems to help players move more air and also focus the embouchure more precisely on pitch. It also doesn’t usually last for very long, so I tend to use this more as a quick “pick up” technique to get the student focused on more positive results. There are, in my opinion, other things which are more beneficial in the long term to practice, but are harder to describe because they depend on each individual student’s embouchure and stage of development.
What do you think? Does Lindberg have a point or is he off base? Please leave your thoughts in the comments below.